In the multi-genre art of the famous painter of the late 19th and the first quarter of the 20th century, Hmayak Hakobyan (1871–1939), who made an invaluable contribution to the development of the Armenian realistic portrait genre, male portraits (painting and graphics) occupy a special place. His portraits reflect both human types and the era in which he lived and created his canvases. The characters of the portraits are people of different nationalities and cultures. These psychological portraits reveal the layers of the human soul.

Out of forty-one available folk songs of the Armenian epic Sasna Tsrer (Arm. Daredevils of Sassoun), 15 samples belong to the most beloved hero, David. David’s songs are grouped into three types according to their content: (a) songs in which the hero collects information about his ancestors and plans his actions, (b) songs that uncover his psychological state, and (c) songs that present him as a strong personality confident in his plans and actions.

The 70s-80s of the 19th century was the period of the formation of Armenian musical folkloristics, whose initial stage incorporated the recording and collection of folk songs. Christopher Kara-Murza, Nikoghayos Tigranyan, Makar Yekmalyan, Arshak Brutyan, Stepan Demuryan played a special role in this process. Among these great sons of the Armenian people is the name of Archimandrite Sahak Amatuni (1856-1920), who stood at the very origins of Armenian musical folkloristics.

In its further literary interpretations (“Metamorphoses”, by Ovid) the ancient Greek myth of Pygmalion, the sculptor, symbolizes the true inspiration of an artist and the one who apperceives the work of art. The transformation of the marble statue is a clear allegory which drives the reader to various reflections on the metaphysics of a work of art and the external reality. The issue is highly contradictory.